This Article  • Full text  • PDF  • Send to a friend  • Save in My Folder  • Save to citation manager  • Permissions  Citing Articles  • Contact me when this article is cited  Related Content  • Similar articles in JAMA  Topic Collections  • Humanities  • Humanities, Other  • Alert me on articles by topic

	Since this article does not have an abstract, we have provided the first 150 words of the full text and any section headings.

Linda Scott (1943-    ), The Swimmer, 1982, American. Oil mixed with sand and marble dust on canvas. 153 x 184.2 cm. Courtesy of the Albright-Knox Art Gallery, Buffalo, NY (http://www.albrightknox.org); gift of Seymour H. Knox.

From its first appearance on the walls of prehistoric caves to the tomb figures of Chinese emperors, as well as to the equestrian bronzes in modern city squares, the figure of the horse has been one of the most powerful symbols of the visual and literary arts. What words cannot say, images do. The horse features in work, in war, in mythology and history, even sometimes in the mystical. Alexander had his Bucephalus, Perseus his Pegasus, Peter Shaffer his Equus. Day and night, and even love, depend on the horse. White horses draw the dawn across the sky, black horses the night. Cupid's chariot was drawn by four white horses, Pluto's by . . . [Full Text of this Article]